
Source: Virtual Mercury House. Planetary & Interplanetary Events, p. 44
Introduction
Space—Time—Matter (1952)
Source: Virtual Mercury House. Planetary & Interplanetary Events, p. 44
Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist.
Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm
Lectures on Aesthetics (1835)
Book II, Ch. 2, p. 279.
Le livre du ciel et du monde (1377)
Quoted in: 'Naum Gabo, Construction: Stone with a Collar', by Jacky Klein, Aug. 2002; Tate, London http://www.tate.org.uk/art/artworks/gabo-construction-stone-with-a-collar-t06975
1936 - 1977, Sculpture: Carving and Construction in Space' (1937)
Source: Mind and Nature, a necessary unity, 1988, p. 74-75
Space (1912)
Context: How if Space is really full of things we cannot see and as yet do not know? How if all animals and some savages have a cell in their brain or a nerve which responds to the invisible world? How if all Space be full of these landmarks, not material in our sense, but quite real? A dog barks at nothing, a wild beast makes an aimless circuit. Why? Perhaps because Space is made up of corridors and alleys, ways to travel and things to shun? For all we know, to a greater intelligence than ours the top of Mont Blanc may be as crowded as Piccadilly Circus.
Quoted in: Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 147
Quote c. 1949, when Albers started his 'Homage to the Square' series of paintings
George Herbert Mead (1926). "The Nature of Aesthetic Experience." International Journal of Ethics, Vol. 36, No. 4 (Jul., 1926), pp. 382-393; p. 382